Titlebook: Daniil Kharms and the Poetics of the Absurd; Essays and Materials Neil Cornwell (Senior Lecturer in Russian Studies) Book 1991 Palgrave Mac

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https://doi.org/10.1007/978-3-030-31113-1‘Slu?aj Harms’, directed and co-written by Slobodan Pe?i? (born in Belgrade in 1956), was the official Yugoslav entry at the 1988 Cannes Film Festival. Despite references in the Yugoslav press to the ‘Caméra d’Or’ prize, it was shown not in competition, but in the Festival’s non-competitive category ‘Un Certain Regard’ on 13 May 1988.

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Slobodan Pe?i?’s film Slu?aj Harms and Kharms’s Sluchai‘Slu?aj Harms’, directed and co-written by Slobodan Pe?i? (born in Belgrade in 1956), was the official Yugoslav entry at the 1988 Cannes Film Festival. Despite references in the Yugoslav press to the ‘Caméra d’Or’ prize, it was shown not in competition, but in the Festival’s non-competitive category ‘Un Certain Regard’ on 13 May 1988.

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Elements of the Fantastic in Daniil Kharms’s StarukhaThe long tale . (‘The Old Woman’), which Kharms wrote in mid-1939, represents probably the highest expression of his prose writing. In fact it is here that the concise, incisive motifs of the . (‘Happenings’) collection of mini-stories reappear in a plot of far greater complexity.

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Wolfgang Leistenschneider,Reinhard Nagelrom its past — writers with something unexpected to say to the modern reader. Such recently reclaimed writers may have languished in obscurity from some point of the nineteenth century, or have suffered from repression in the twentieth. In some cases, the existence of their main works may have remai

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Preparation for Endoscopic Examination,hich we have decided to call, for reasons of convenience and usage, ., a term which will require further definition. What can be said without any more ado is that Kharms’s . is not a chance phenomenon and that it may be approached in the Russian or European literary contexts. In fact, a certain visi

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https://doi.org/10.1007/978-3-642-32823-7ches in particular have proven especially influential. The first approach may be called international in that it locates the ‘key’ to Kharms’s prose in its parallels to twentieth-century European literature of the absurd. While George Gibian was careful to describe the OBERIU’s Russian context as we

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Atlas of Response to Immunotherapyprose and indeed in his work as a whole. . certainly provides a central focus for much of Kharms’s prose, so that many other texts can be related to it, but among the great number of short prose pieces that make up a major part of his later work it also represents a unique approach to the creation o